Reviewed by: Ink under the Fingernails: Printing Politics in Nineteenth-Century Mexico by Corinna Zeltsman Shelley Garrigan Keywords Printer, Political Actor, Patronage, Bourbon Reforms, Privileges, Technology, Press Freedom, Censorship, Labor, Authorship, Print Shop, Ignacio Cumplido, Inquisition, Lafragua Law, Property, Nationalization, Liberal Triumph, Porfirio Díaz, Compositor, Criminalization zeltsman, corinna. Ink under the Fingernails: Printing Politics in Nineteenth-Century Mexico. U of California P, 2021. 350 pp. Corinna Zeltsman has made a powerful contribution to Mexican studies with this detailed and profound investigation, which traces the politics of printing through the multilayered sociocultural and governmental shifts that mark the long nineteenth century in Mexico, at one point the printing hub of the Americas. Zeltsman’s investigation takes readers on a tour through the intricate debates, on-the-ground labor practices, disagreements, and laws through which printing practices evolved, traversing printing workshop floors, government offices of shifting administrations, churches, collections of official and ephemeral printed matter, jail cells, and the streets of Mexico. The effect is a persuasive invitation to consider the centrality of print culture with respect to the larger dynamics that unfold around it as the century progresses. The sheer amount and variety of archival work in this piece of scholarship is extraordinary; Zeltsman draws from a range that includes several state and municipal, notarial, and church archives, libraries, records from the 19th-century Mexican national government printing office, and a special collection of 19th-century artifacts housed at the Sutro Library of California to reconstruct a complex series of portraits of the various and evolving political dynamics in which 19th-century Mexican print culture was [End Page 637] embedded. In the introduction, the author invokes the ideas of Ángel Rama, Benedict Anderson, and Jürgen Habermas to contrast their affirmations regarding print and the public sphere in different sociopolitical contexts with Mexico, and successfully argues the case for constructing a different, more nuanced type of framework from which to assess the complexity of print dynamics in the 19th-century Mexican context. The first two chapters cover the late colonial period. Chapter one illustrates how Mexico, in the development of a nascent print culture, differed from the classic narratives of the north Atlantic in which print capitalism evolved as an independently financed venture that stood in rebellious opposition to the status quo. In Mexico, printers relied upon the vertical privileges granted by the viceregal system that operated during the era of the Bourbon reforms in order to receive permission to establish their businesses, and political actors strongly influenced the news that reached the public. In one of several gripping case studies that emerge in this investigation, Zeltsman focuses on the Gazeta de México run by Manuel Antonio Valdés, and the eventual loss of his printing privileges due to a conflict with the viceroy regarding the role of print in demonstrating individual nationalist allegiances to the Spanish Crown during the monarchical crisis of 1808. Chapter two focuses on the uneven evolution of press laws at the tail end of the colonial era, which awakened an intricate set of conflicts that would require several decades to resolve. First appearing in the Cortes of Cádiz in 1810 Spain, the laws abolishing privileges and licenses were enacted during a two-month window in Mexico in 1812, and then again during the Liberal Triennium of Spain in 1820. The vague parameters around freedom of the press required the creation of a new regulatory framework beyond the Inquisition, leading to the birth of a censorship office and a press prosecutor. The result was an abundant air of uncertainty regarding what could be printed and why. A lively published debate between two writers and the printer-heir Alejandro Valdés sheds light on how the boundaries between authors and printers were still very much in flux, and an illegal and scandalous broadside in Puebla reveals the tenuous abilities of liberal forms of print censorship to maintain social order. Chapter three, set in the 1840s, marks a shift in the historic alliance between printers and the state as officials struggled to maintain social order in an era of extreme uprisings and instability. Who, ultimately, was responsible for a given published work...